Behind the scenes of the online gaming industry, a well-oiled machine seems to be running out of control. Every week, more than fifty new machines appear on the platforms. An avalanche of new releases intended to stimulate player interest but which, according to several industry players, is now having the opposite effect: saturation.
The hidden side of frenzied production
Every week, more than fifty new games appear on the market, or more than two thousand per year. At first glance, such vitality might seem beneficial: more choice, more creativity, more dynamism. But the reality described by the professionals interviewed reveals a completely different side to the story.
Behind this abundance lies a major pitfall: lack of visibility. Platforms only display a dozen new releases on their front page, even though there may be twenty in a single day. Almost half of all games are dead on arrival, relegated off the screens before they even have a chance to win over players. No algorithm will promote them, no player will discover them spontaneously. Only the manual intervention of a manager could save them — but why would they do that for a game that already looks like so many others?
The reality is brutal: in this race for quantity, the majority of new releases disappear as soon as they arrive.
When multiplying titles no longer generates value
This paradox now affects the entire sector: more games, but no more revenue. Overall turnover is not keeping pace with the increase in releases. Operators are thus observing a phenomenon that is rarely mentioned: cannibalisation.
According to Dmytro Yevstratov, studios too often reuse the same mechanics in different guises. These disguised twins saturate the market and dull interest.
Another trend that has been highlighted is sequels being released too early. Releasing a second instalment while the first is still at its peak does not generate additional enthusiasm. On the contrary, it divides players’ attention, dilutes loyalty and weakens the lifespan of products. The industry hopes to broaden its base, but only shifts the same volume from one game to another, with retention losses along the way.
The proliferation of titles therefore does not increase value: it erodes it.
An impossible choice when faced with the risk of losing players
Faced with this overproduction, one solution seems obvious: reduce the game portfolio, discard weak titles, and focus the offering on the essentials. However, this option seems impractical for operators.
Why? Because a catalogue that is too limited could push players to look elsewhere. Everyone wants to offer everything that others have for fear of losing part of their customer base. As a result, operators find themselves forced to maintain thousands of games, even though the majority generate no activity. The industry has thus locked itself into a vicious circle: an overflow that has become impossible to reduce, a mass of titles that is increasingly difficult to manage, and an audience that is increasingly indifferent to an overly vast offering.
Gamers’ behaviour now confirms a phenomenon known in psychology: when faced with too many choices, indecision sets in. Users no longer know where to click, hesitate, revert to safe options… but no longer try new things. Thus, the explosion in the number of releases has not stimulated exploration. On the contrary, it has reinforced loyalty to already popular titles, now perceived as safe havens in a sea of similar options.
New games, meanwhile, disappear into the crowd. Not because they are bad, but because they can no longer stand out. The market creates variety without creating opportunities.
A clear demand for studios
Faced with this situation, the voices of managers are becoming increasingly audible. And their message is unambiguous: studios need to slow down.
Rather than filling a calendar, creators should return to a simple goal: convincing the operator. It is the operator who decides what will be highlighted, presented to players, and promoted. An average game among fifty will never be presented; a truly innovative game among five will have a real chance.
According to Dmytro Yevstratov, a few simple criteria could guide a creative renaissance:
- New mechanics instead of slightly modified copies.
- Unprecedented probabilities, escaping overly duplicated models.
- Truly original universes, far removed from the endless variations on ancient Egypt or fishing.
What is lacking today is not supply, but value.
The online gaming industry is at a turning point. The figures have long masked a profound reality: producing more has never guaranteed producing better. Today, volume has become a problem, visibility a luxury, and attention a rare resource. Faced with this situation, the most experienced professionals are calling for a change of course: slow down, raise quality, and give each game the place it deserves.